After three years off to get married and become new mothers, the Campbell sisters are back with a new album, and critics are singing its praises.
Mary Mary capitalizes on the sisters' large, mass appeal sound, while adding new songwriting influences -- including big band jazz, Jackson 5-style Motown, Latin, and house music. And the album ratchets up the gospel factor on their lyrics several holy notches too.
The release will have sinners dancing in the streets, and the faithful gasping for air, as Erica and Tina witness and praise with all their powerful might.
On Mary Mary, their singing has never been more stunning, their conviction of the message never more certain, and the songs themselves never so breathtaking and adventurous.
The album opens with a track in the Destiny's Child mode, "Believer." Like most of the songs, the tune has irresistible, complex bass lines that speak to your feet, vocals that cut through your soul and a crafted sophistication in songwriting that will make you wonder how they ever dreamed it up.
The next song is inspired by the Cotton Club, and Mary Mary make fantastic war-era vocal jazz divas. "Biggest, Greatest Thing," shows off their God-given vocal talents in a whole different light. It segues into a Jackson 5 tribute, complete with handclaps. All that's missing is the choreography!
Fans of Mary Mary's kinetic numbers will love the radio-ready "Love You That Much." Just try to listen to it and hold yourself still. Just try not to be moved. Tugged at. Warmed.
Mary Mary rocks the club and pumps up the throngs with "Heaven," complete with call-and-response with the dance floor crowd. "Yesterday" is a flawless nod to Ray Charles, only instead of Mary Mary singing background vocals for the maestro on the smoky piano blues number, they're backing up themselves on the uplifting, minor-keyed gem.
On "What Is This," the sisters break new ground, incorporating a gypsy fiddle on a "hip-notic" chant that's inside the ballad with Earth, Wind & Fire style chord changes. You've never heard anything like it. And the experimentation doesn't begin or end there.
The praise and worship song "And I" fuses trip-hop, Brazilian samba, and spy music, and features a guest turn by gospel star Kirk Franklin. The song defies description and exudes a strange, magnetic beauty. And on "Stand Still," Mary Mary sing from the perspective of God, talking to a Prodigal son on earth.
The album closes with a hushed, gospel piano ballad "Speak To Me," where, as master communicators, they practice the artistic ethic of "less is more."
With appeal that's universal, a message that's timeless and voices from heaven itself, Mary Mary expand their sound even further while staying true to their hearts and their boundless artistry.
By Todd Spencer